Bakhtin and the actor (with constant reference to Shakespeare).
The Bakhtin we know best is something of a lyricophobe and theatrophobe. This is surprising, since he loves the act of looking. His scenarios rely on visualized, collaborative communion. He cares deeply about embodiment. Does he care about the tasks that confront the actor? Not the improvising clown...
| Publicado en: | Studies in East European Thought Vol. 67; no. 3/4; pp. 183 - 208 |
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| Formato: | Artículo |
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Springer Nature
Dec2015
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=hlh&AN=110694982&site=ehost-live header: @attributes: shortDbName: hlh uiTerm: 110694982 longDbName: Humanities International Complete uiTag: AN controlInfo: bkinfo: jinfo: jid: 09259392 GGL jtl: Studies in East European Thought issn: 09259392 maglogo: N pubinfo: dt: Dec2015 vid: 67 iid: 3/4 pid: 237 pub: Springer Nature artinfo: ui: 110694982 10.1007/s11212-015-9238-1 ppf: 183 ppct: 25 formats: fmt: @attributes: type: P size: 509KB tig: atl: Bakhtin and the actor (with constant reference to Shakespeare). aug: au: Emerson, Caryl affil: Princeton USA su: Bakhtin, M. M. (Mikhail Mikhaĭlovich), 1895-1975 Theater history Phenomenology Tragedy (Drama) Oedipus at Colonus (Play : Sophocles) sug: subj: Bakhtin, M. M. (Mikhail Mikhaĭlovich), 1895-1975 Theater history Phenomenology Tragedy (Drama) Oedipus at Colonus (Play : Sophocles) keyword: Actor Bakhtin Oedipus Shakespeare Theatre Topographical stage Tragedy ab: The Bakhtin we know best is something of a lyricophobe and theatrophobe. This is surprising, since he loves the act of looking. His scenarios rely on visualized, collaborative communion. He cares deeply about embodiment. Does he care about the tasks that confront the actor? Not the improvising clown of carnival (carnival is theater only in the broad sense of performance art), but the trained artist who performs a play script on stage? In discussing these questions, this essay draws on two suggestive places in Bakhtin's writing where he addresses the actor's art. One is from the mid-1920s; the other (1944), is on Shakespearean tragedy. If Bakhtin has a theatrical imagination, it will be found here. His grasp of an actor 'living in' to a role and his comments on the evolution of the European stage cast his better-known ideas of dialogue, comedy, seriousness and the sacred into unexpected perspective. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: Y custom: Studies in East European Thought is a copyright of Springer, 2015. All Rights Reserved. item: Studies in East European Thought holder: Springer Nature dt: @attributes: year: 2015 holdings: @attributes: islocal: N |
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